Page 267 - B-ALL#47 ENG

His Roman interlude as a resident of the French Academy and winner of the Villa Medici scholarship reinforces this desire to work on photography like painting. “Although I have never painted directly on prints, my works are very pictorial, or rela- ted to the history of art.” In this period, the polaroid was one of his favored supports. Rome is a precious stopover for someone whose mantra is “never be satisfied with the world or with yourself.” Even more true, according to him, for an artist who must create his world and his universe through his work. “he makes his mark by transfor- ming reality”. Identity, so difficult to acquire if you are not inhabited by this furious need to create.
Does Antoine have any obsessions?
Looking at all his work, the question itches. He confides that, in fact, it has recur- rences such as death, eroticism, religion, art history, rituals. But, and this is all the magic of his photos, he always uses one of his obsessive elements with its opposite: eroticism and the veiled, the macabre and enjoyment, the religious and transgression, the human and the animal, nature and the body.
He likes to lose his viewer so that he can question himself and really look at the image.
And loyalty, another fixed idea?
Considering his long collaborations with Crazy Horse and Bartabas, we can conclude that the man is faithful and that his work is esteemed. Reciprocity.
For thirty years, he has been around the backstage and the stage of the legendary Pari- sian cabaret. It’s a bit like his second home!
A place of Parisian life created in 1951 by Alain Bernardin, Crazy Horse is located in the heart of the golden triangle. A prestigious address was needed for shows with impeccable choreography, with high-level classical dancers.